There are two basic methods of tuning a stringed instrument. The first method is referred to as pitch or fine tuning. Pitch tuning is accomplished by increasing or decreasing the tension on a given string by means of using tuning heads, tuning keys, or the like. An increase in tension raises the pitch of the string. A decrease in tension lowers the pitch of the string. The following disclosures relate to various pitch tuning methods and devices: Borisoff et al. (U.S. Pat. No. 4,643,069; issued Feb. 17, 1987); Borisoff (U.S. Pat. No. 4,535,670; issued Aug. 20, 1985); Rose (U.S. Pat. No. 4,497,236; issued Feb. 5, 1985); Storey (U.S. Pat. No. 4,457,201; issued July 3, 1984); Rose (U.S. Pat. No. 4,171,661; issued Oct. 23, 1979); Sullivan (U.S. Pat. No. 2,504,752; issued Apr. 18, 1950); and Smith (U.S. Pat. No. 2,487,193; issued Nov. 8, 1949).
Pitch tuning has several disadvantages. The most notable disadvantages are: (1) the musician is required to manually tighten or loosen the string to be tuned; (2) retuning the instrument back and forth between various notes is inconvenient and time consuming; (3) retuning the instrument is particularly distractive for both the audience and the musician when the continuity of a performance is broken while the musician stops between songs to adjust and fine tune the tension in a string; (4) the success of the retuning is heavily dependent upon the capability of the musician to hear, obtain, and retain the desired tone; and (5) the tone of the string is adversely affected by repetitive adjustments of the string's tension. More importantly, however, the musician must rethink his or her entire fingering scheme, because songs using different bass notes necessarily require use of different chord finger positions. Having to rethink one's fingering scheme each time a different bass note is used is extremely difficult, particularly so, when such fingering varies substantially from a fingering scheme to which the musician is normally accustomed. This latter disadvantage will be discussed further below.
The second method for string tuning is referred to as harmonic or string length tuning. Harmonic tuning is accomplished by altering the distance between the points at which a given string contacts a saddle on a bridge at one end, and a nut or an intermediate fret at the other end. The following disclosures relate to various harmonic tuning methods and devices: Shabram (U.S. Pat. No. 4,183,279; issued Jan. 15, 1980); Lowe (U.S. Pat. No. 3,191,480; issued June 29, 1965); and McBride (U.S. Pat. No. 2,364,861; issued Dec. 12, 1944). Generally, harmonic tuning is accomplished by shortening the effective scale length of a vibrating open string by forcing one or more frets to actually serve as an alternative nut.
The stringed instrument may also be initially constructed, or have its physical structure permanently altered, to provide lengthened strings or additional strings having different scale lengths. For example, a harp, the Asturias 11-string guitar, and the "Multirange Fretted Guitar Type Instrument", described in Penlensky (U.S. Pat. No. 3,392,618; issued July 16, 1968), are instruments specifically designed and constructed to support a variety of strings having different scale lengths. A double headstock design has also been used to support additional, specially chosen, longer strings. Likewise, a fingerboard extension for an upright bass has been used to extend the length of an E string. The fingerboard extension incorporates the use of a stationary pulley, a clamp made of ebony having a leather surface, and a custom-made string to achieve either a deeper or higher bass sound. A string clasp may also be used with a specially designed guitar having an extended string to obtain a deeper or higher bass sound.
The inventor believes the listed patents and known prior art taken alone or in combination neither anticipate nor render obvious the present invention. These citations do not constitute an admission that such disclosures are relevant or material to the present claims. Rather, these citations relate only to the general field of the disclosure and are cited as constituting the closest art of which the inventor is aware.